The Beautiful Summer

No pun intended - the character may be 17 (allegedly), but I am certain the actress is or rather was an adult when this was shot. Now some may be a bit more sensitive to that nature, that's why I am pointing this out - because she not only will engage in ... love making acts, but also reveal her upper body a few times.

So you have been warned - though also do not get too excited! This is not that sort of film. I am certain you will be able to find something along your liking if you look for that sort of entertainment. Back to this, the main character is getting her first glimpse of female sexuality ... which awakens something in her. Beautiful summer ... well it is not everything beautiful (the individuals themselves are very much so though).

Well acted and the tension and drama are well balanced. With enough twists and turns to keep you interested ... also character decisions of course ... relationships and falling outs ... youth is wasted on the young? Well be that as it may ... they should enjoy it fully ...

In two scenes from «La bella estate» sound defines two expressions of love in a beautiful and radical way. In a scene of depersonalized sex, in which the protagonist loses her virginity, the action suddenly becomes silent: no more moans and snorts, only images of naked bodies without connection. In another scene, on a dance floor, realism gives way to daydream, and the tune played by a band turns into a love song, while the lovers' bodies dance in symbolic copulation, oblivious to their surroundings.

These two approaches are used sparingly in a few moments of Laura Luchetti's film, in which ambiguity allows us to reflect on what we see, on the development of events and, above all, on the stylized conclusion marked by the color white, suggesting something beyond what we see on the screen. And if I am not more explicit it is so as not to spoil the film for you.

Based on the novel by Cesare Pavese, set in Turin, one year before the start of World War II, «La bella estate» is the story of Ginia (Vianello), a country girl who develops with great promise in a sewing workshop and helps her brother Severino (Maupas) to pursue university studies and discover his literary talent. But this delicate world, marked by simple pleasures and a measured life, is shaken when they both meet Amelia (Cassel, daughter of Vincent Cassel and Monica Bellucci), a painter's model who, without intending to, separates the siblings and takes Ginia into the world of artists, to ecstasy and unknown emotions.

The 112 minutes pass with the succession of coincidences, joys, transitions, and breakups without fanfare. There are signs of unrest that are not emphasized: fascism is described in a speech by Mussolini, three despotic militiamen who briefly appear or in the black shirts that Severino must wear. It has even been said that the adaptation of Pavese's novel evades contradictions and the visualization of today's gender categories and that the script avoids comments against the proto-fascist and "heteronormative" men of the time - it only observes them, devoting the greatest attention to the story of Ginia and Amelia's friendship.

Happy decision! The film speaks of more beautiful things, of country people, of virtue, innocence, solidarity, love, art, and life in an environment where every arch, stained glass window and canvas point to an aesthetic sense of existence. In this sense, the film is a product of fine workmanship, thanks to the attention paid to the selection of locations, the color cinematography, the art direction, the costumes, the music.

«La bella estate» is one of those films that pervades, one of those that touches us and remains in our memory, one of those that, after the objection we made to the sentimentality of the climax, we recall it the next day and understand crying as an expression of the fragility of Ginia, a beautiful character who was deprived of her naivety -- but not of her goodness -- in her growing process. The ending leaves the page blank, so that we can imagine what happened to the two siblings, the model, the painters, and the mentors, in the midst of war and the whims of Benito Mussolini, Adolf Hitler and all the rest of the bigwigs.

It's frustrating to watch a film that's ostensibly headed along a particular trajectory but that continually stumbles on the path it takes to get there. That's precisely what happens in this period piece coming out/coming of age story set in 1938 Italy. Writer-director Laura Luchetti's adaptation of Cesare Pavese's 1949 novel about an impressionable 17-year-old dressmaker (Yile Yara Vianello) who becomes romantically infatuated with an artist's model (Deva Cassel) takes its own sweet time (and plenty of overlong detours) in making its way toward a seemingly foregone conclusion. But, even when this offering apparently approaches that destination, it takes yet another unexpected left-field turn and subsequently leads to what the filmmaker herself admits is a deliberately ambiguous conclusion. Consequently, this is the kind of movie that's likely to leave many viewers scratching their head and asking, "What's the point of all this?" The picture is allegedly intended to address a subject that was considered taboo at the time of the story's setting and of the book's writing, but that objective isn't fulfilled nearly as clearly as it might have been. As a result, whatever lofty intentions might have been behind the initiation of this production, they're decidedly obscured in the final cut. There are also some passing references to the fascist sociopolitical conditions of the time (elements not included in the source material), but they're never developed much, making their inclusion look like throwaway afterthoughts. To its credit, "The Beautiful Summer" has some fine cinematography, well-chosen location settings showcasing the beauty of Turin and a stirring soundtrack, but, if these attributes are the best that one can say about the film, that's not saying much about the picture overall. Luchetti's third feature outing truly needs ample retooling to make it work, because, as it stands, it doesn't.